CHERRY VINTAGE AUDIO / objets d'art (Since 2014) 

CHERRY VINTAGE AUDIO / objets d'art (Since 2014) 

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Page 2 Vintage Stereo Receivers ~ Tuners ~ Amps

Sansui G-4500
Sansui G-4500

Sansui G-4500 

('78-'79) 40 WPC   $500 

In spectacular cosmetic condition, fully serviced and fully operational, this Sansui G-4500 was obtained locally from the original owner.  He purchased it at the US military PX in Japan when he was stationed on duty there back in 1978.  Although it was sparingly used and kept in safe storage for many years, it was completely disassembled / cleaned / checked / adjusted and tested to show that all pots, switches, buttons and lamps function perfectly and then it was reassembled.  

While the G-4500 phono input is a typically adequate connection, the phono stage (as a bonus) has been bypassed and upgraded with an excellent Fluance phono preamp operating through the tape loops.  This achieves a much cleaner signal by eliminating electronics from the turntable's signal path.  The result is higher quality sound at a lower volume.  

This pure analog G-4500 is one of the earlier Sansui G-series (G-X500) famous for sound quality comparable to separate components costing much more. Warm, very transparent sound.  Conservatively rated at 40 watts per channel,(RMS @ 8 ohms) it actually puts out closer to 53 watts at clipping.  It should be noted that, as per Sansui, the G-4500 is not recommended for use with any speakers rated below 8 ohms...it is what it is.

The receiver has a beautiful classic form. Its warm sound and an extremely rich soundstage are impressive. It has a unique front facia design that's distinguished by the gorgeous embossed aluminum faceplate, unique square push buttons and the two enormous main knobs (for volume & tuning) that anchor the beautiful layout and design.  The walnut veneer case is absolutely pristine.

Pure Power! That was the tagline for Sansui's G-Series receivers from the late 70's and they lived up to the advertising hype.  Those in the know make the claim that these early Sansui G series receivers are some of the best receivers ever made in terms of both build quality and performance.  

For those interested in a little Sansui history, they produced the G-X000 series first, then the G-X500 series, and finally the G-X700 series over a span of about 4 years from late '77 till around '81 or '82. General opinion is that the early G-X000 / X500 series might just be the "best" built of the series (just analog baby!). Cost cutting measures that occurred later plus the sometimes problematic digital LED radio frequency issues slightly reduced the quality of the X700 series.  Also, the G-5XXX receivers aren't necessarily comparable.   Bottom line: all the "Pure Power" units from Sansui are highly respected and lusted after regardless of variations of design during the model runs.


Basic specs:
Power output: 40 watts per channel into 8Ω (stereo)
Frequency response: 10Hz to 50kHz
Total harmonic distortion: 0.1%
Speaker load impedance: 8Ω (minimum)
Dimensions: 17"W x 6.25"H x 14"D
Weight: 18 lbs


About Sansui...

Sansui Electric Co., Ltd. was founded in 1947 as a manufacturer of transformers, but already in the 1960s it gained a reputation as a serious producer of audio components. Despite its huge popularity (especially in the United States) in the 60s and 70s, after 1985 the company began to bring much less profits than its rivals (Sony, Pioneer or Technics). It was the end of the heyday of hi-end equipment, which was related to an increase in sales of personal computers. At that time, Sansui Electric Co., Ltd. focused on the production of high-end components in Japan, and also started to produce high quality TV sets and other video equipment, while stopping exports. At the end of the 90s, the brand name was used on video devices manufactured by other companies.

Eventually, Sansui Electric Co., Ltd. as part of Grande Holdings went bankrupt in 2014. It is worth noting that Sansui was the first company to use transformers in audio equipment, and first to introduce to the market a high-voltage tube-transistor (hybrid) amplifier and a QS / RM system (Quadrasonic System / Regular Matrix), which allowed to obtain four-channel sound from two-channel one.

Sansui products were world-famous for their excellent sound engineering, great design and the highest performance already in the 60s. It was possible thanks to the fact that each model was created from start to finish by Sansui experts. In order to ensure stable and top quality only the best parts were used in the production and each device was repeatedly tested with precise measuring instruments before being delivered to the customer. Thanks to such an approach, Sansui Solid State receivers were characterized by low distortion, higher damping factors, greater dynamics, and most of all much better sensitivity and selectivity.


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Yamaha CR-1020
Yamaha CR-1020

Yamaha CR-1020 

(1978)  70 WPC @ 8 / 100 WPC @ 4  $900 (perfect)

In perfect cosmetic condition, fully serviced and fully operational, this gorgeous  Yamaha CR-1020 was obtained from the original owner.  Photos don't do it justice because, in person, it's immediately obvious how pristine it really is.  The original owner's manual is included. Among all the beautiful vintage receivers produced in Japan during the "Golden Age of HiFi", there are only a few that have this kind of recognizable and sexy appeal.  

The CR-1020 is conservatively rated at 70 watts per channel into 8 ohms and  100 watts per channel into 4 ohms. Weighing in at 42 lbs, the big, beautiful "envoy walnut" veneer case has that unmistakable and famous Yamaha design.  Another distinctive design would be the stylized brushed aluminum faceplate with those three elegant meters and block switches; unique to the Yamaha CR- series units. The meters and dial pointer have been upgraded with new (brighter) 14 volt lamps.   
NOTE: A convenient switch near the meters allows for choice of using them as either dedicated power meters or as m
ulti-function FM/AM signal meters

The "Natural Sound" Yamaha receivers from this era are known to have low distortion and their circuitry was designed to affect the signal as little as possible throughout the amplification path. The CR-1020 lives up to this ideal by having a maximum of 0.05% total harmonic distortion. In fact, Yamaha’s sales literature at the time coined the term Noise-Distortion Clearance Range (NDCR). Instead of measuring noise and distortion under lab conditions they set up the receiver in a typical listening situation and then measured the noise and distortion. They also called it Real Life Rate.

It should be mentioned that the CR-1020 has advanced design features borrowed from Yamaha’s high-end audio components such as the B-1 and B-2 power amps, C-1 control amp and CT-7000 tuner. The borrowed features include power meters, presence control, LED function indicators, and a signal quality meter.

Other features include inputs for two turntables, connections for three pairs of speakers and the unique "continuously variable loudness" control. This loudness control design allows for a smooth, continuous volume control that maintains consistent left/right stereo balance at all levels.  Unlike receivers with just an on/off loudness switch, the CR-1020 loudness control compensates for how our hearing changes at different volumes. This helps retain consistent tonal balance whether listening loudly or softly. This was also used in Yamaha’s C-1 control amp.

Perhaps one of the best features is the convenient "pre out/main in" switch on the rear.  Unlike typical receivers, the CR-1020 has pre-out connections usable even during normal operation without having to disconnect plugs. This allows easy hookup to external gear like equalizers without signal interference.

The Yamaha CR-1020 was also very eloquently described on the venerable Vintage Knob website:
"Hopelessly classic!
No... not at all : the CR-1020 has CLASS. 
And just like any other late 70s Japanese component, it'll be on your grand-children's shelves, making music just like way back then, when most of the human race wore flared trousers, dreamy-eyed listened to Pink Floyd's Animals and/or mourned Elvis' death and/or still heard echoes of Janis' performance at the Monterey but felt it was somehow fading away.
Alas, all good things have an end and the CR-1020 was replaced by the frosted and classy CR-1040 in 1979. By which time post-disco and new wave were all the rage.
We won't bother with technical descriptions here : the CR-1020 is part of those few components one can buy with eyes closed and which, just by looking at it (eyes opened), brings its period back, intact and unharmed by time - colors and flared trousers included."


Basic Specs:
Power Output: 80 WPC @ 8 ohms / 100 WPC @ 4 ohms
Frequency Response: 10Hz To 100kHz
THD: 0.05%)
Speaker Load Impedance: 4 ohms To 16 ohms
Dimensions:  21.3" W X 6.6" H X 16.4"D
Weight: 42 Lbs


About Yamaha...(1972 and later)
From the CA-1000 that whipped up a whirlwind and brought Yamaha recognition in the audio world, to the AX-2000A that, after groping around with digital technology, managed a comeback to pure analog.  The very successful "Natural Sound" marketing in the 70's brought Yamaha into direct competition with Pioneer, Marantz and almost all the other great companies of the era.


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NAD 705
NAD 705

NAD 705

('92-'95)  40 WPC   $250

In excellent cosmetic condition and fully operational, this NAD 705 stereo receiver follows the NAD tradition of high performance and functional design.  This highly reliable unit is conservatively rated at 40 watts per channel.
Taking advantage of its functions including phono, tuner, CD, etc it can be used as the preamp by simply pulling the jumpers on the back.  The NAD 705 is another worthy member of a long line of distinguished NAD products.

Basic specs:
Power:  40 watts per channel
Dimensions: 16.5"W x 4"H x 12.5"D
Weight: 14.5 lbs


About NAD (New Acoustic Dimension)...
NAD Electronics is a brand name of an electronics firm whose products include home HiFi amps and related components.  The company was founded in London, England, in 1972 by Dr. Martin L. Borish, an electrical engineer with a PhD in physics. Its most famous product is the late-1970s NAD 3020, an integrated amp designed by Bjørn Erik Edvardsen, which was highly regarded by various magazines in Britain.  NAD's philosophy is to include only genuinely useful features for aesthetically understated designs when compared to other competitors' products. NAD was one of the first audio manufacturers to outsource the manufacturing of its products to electronics factories in east Asia.  NAD was acquired by the Danish firm AudioNord in 1991 and subsequently sold in 1999 to the Lenbrook Group of Pickering, Ontario, Canada


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Fisher 504
Fisher 504

Fisher 504  

receiver ('73-'74)  110 WPC   $400

Fully functional in stereo mode, this gigantic Fisher 504 was around for about two years in the early 70's.  It's amazing that some 50 years later this beast is still kicking.  It's in excellent cosmetic and operating condition.  It has been fully serviced as well.

NOTE:
Quad units were all the rage for a few years in the early 70's but never really caught on to the extent that Fisher, Pioneer, Sansui, etc were hoping for.  Regardless, they have a certain appeal that's hard to deny.  The good news is most of them were (are) just as good (maybe better) in stereo.


The 504 was Fisher's top of the line quad receiver replacing the Model 801 in 1973 and costing a staggering $600 at the time.

Designed as a "power bridged" unit, the rated power in 2-channel mode is 110 watts per channel @ 8 ohms.  Essentially, when in 2-channel mode, all 4 amplifiers are connected allowing the available power to jump from 40 watts per channel in 4-channel mode to about 110 watts per channel in stereo.  
NOTE:  Julian Hirsch did a thorough test of the Fisher 504 for Stereo Review magazine in August 1973 and stated:  "One of the Fisher 504's special features is its 'strapped' output circuit for two -channel operation. The strapping provides a greater power output in each of the two used channels than the sum of the combined front and rear channels. In this mode, the maximum output is obtained with 8-ohm loads and is rated at 110 watts per channel at 1,000 Hz, or 90 watts over the full audio range. We measured the clipping point at 132 watts per channel."

As mentioned above, this Fisher 504 works perfectly when operating in stereo (2-channel) mode...phono, aux, FM, AM and tape are all working in stereo mode.
NOTE: because it works just fine in stereo we have not tested this unit in 4-channel mode

The neatest features are the joystick-type master gain control, extra center-of-channel tuning meter, and a veritable ton of additional tone controls.

The walnut case is in excellent cosmetic condition and the silver face is scratch free with all the lamps working as well.
More of a classic collector piece than anything, the 504 is unusually heavy, be aware!


Basic specs:
Power:  110 WPC into 8 ohms
Frequency response: 10 Hz - 52 kHz
THD: 0.5%
Dimensions: 21.5"W x 16.75"D x 6.75"H
Weight:  43 lbs


About Fisher...
Of course the name "Fisher" is synonymous with high fidelity leadership since the 60's when Avery Fisher turned the audio world on its ear with his early tube units (like the famous Fisher 500C and others).  Alas, all things must end, Avery Fisher sold his company and, over the years, the brand has both flourished (to some) and floundered (to others).


About Avery Fisher... 
Mr Fisher was born in New York in 1906. After graduating, he worked in a publishing house for two years. During this time, as an amateur violinist, he began to experiment with audio equipment design and acoustics. He wanted to create a radio that would remain true to the original sound. In 1937, he founded his first company, Philharmonic Radio. After 8 years, however, he sold the business and founded the Fisher Radio Company, which sold high-quality audio products under the name The Fisher.

In 1957, it produced its first high-quality FM / AM receiver, a monophonic 14-lamp Fisher 500 (TA500), and 2 years later a 22-lamp 600  stereo receiver (TA600) was launched. In 1963-1964 Fisher began selling the T400 – the first  transistor stereo receiver. In the 1960s, the company made a breakthrough by creating two unique products – the first transistor (semiconductor) amplifier and the first combination of receiver and phonograph, the precursor of a compact, integrated stereo system.

In 1969, Fisher sold his company to Emerson Electric Company for $ 31 million. Then, after six years, the company was taken over by the Japanese group Sanyo. Avery Fisher served as a consultant for both companies, thanks to which early Fisher models under the Sanyo brand maintained the high standards of the original Fisher business model.


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